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The dancers slowly crawl toward the front of the stage, as if moving through trenches, alternately speaking the lines, “Outside there are roars, dying blue hands, mouths in which beat defeat/The heavy noise of bombs falling on streets wet with blood [….] Soon the sun will come out/They will be different, the noises/Those of war/Those of love.”As one performer speaks, the other stands facing the audience, palms and fingers outstretched framing a mouth open in a silent scream.Archival footage of bombs falling over Europe projects onto the white sheets. The male character moves frantically about the stage reading letters written to his wife during the war.
For a brief moment, the images of rubble are projected only onto her body and she walks upstage.
The performers re-emerge to the sounds of the Argentine rock song “Hoy todo anda bien”by the group Manal.
They dart between the haphazardly hung sheets and only their legs are visible as they perform jitterbug steps.
The sounds of bombs and military drills abruptly interrupt their lighthearted movement.
The movement style of this piece does not activate any one particular technique, but instead blends social dance citation, quotidian gesture, and rhythmic movement through space.
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A central device in the piece, performers manipulate white fabric sheets that are continually re-arranged on lines diagonally strung across the stage, functioning as transformative objects as well as projection surfaces for the archival images featured throughout the work.y (1977) in which Sofia Loren removes white sheets from a laundry line (Luz 2010).He disappears behind the sheets as images of post-war Europe flash across the curtains, displaying cities reduced to rubble.She slowly begins to remove the sheets from the lines.The images repeat in rapid succession as the couple engages in a hyperbolic (clothed) sexual encounter. He removes a sheet from the line and begins to stuff it into her shirt to symbolize a pregnancy that metaphorizes the dreams of revolution gestated by 1970s youth.The moment turns violent when Argento’s character restrains his partner.Artistically directed by the physical theater troupe Fuerzabruta, the parade featured more than 2,000 performers and represented historical “highlights” from Argentina’s 200 years of independence, including a representation of the last military dictatorship that set fire to a enormous replica of the Argentine constitution.choreograph history on a much smaller scale and propose more cautious projections of the future.In a moment focused on celebrating Argentina’s grand historical narratives, these works do not attempt to dance the archive, nor do they present an especially cohesive or comprehensive account of historical events.Word and gesture tell the story of their courtship, marriage, and his departure for the war. Wigutow’s character tears through the space, always just missing Argento behind a sheet, until he passes her a black piece of paper.Presumably containing news of his death, he collapses into her arms with a cry of desperation.Instead, gesture and choreographed movement literalize cultural memory as always already embodied and in excess of its documentation.Central to the meaning-making framework of each piece, archival materials function as dialogic components in an exploration of what it was like for the body to be moved by—and to move against—social choreographies of terror.